Let the Craft Shine emerges in an economic and social context that feels unstable and, at times, anxiety-inducing for animators who are deeply attached to manual techniques. In the collective imagination, the rise of generative AI is often perceived as putting pressure on their ways of working. This project aims, on the contrary, to show that by contrast, the gestures, precision, and dedication behind these craft-based practices stand out even more today. The project therefore addresses several levels of audience.
Firstly, it seeks to reach a community that shares similar concerns and is eager to advocate for analogue methods. I aim to connect with creatives, animators, artisans, artists who are attentive to the materiality behind the screen and attached to the value of gesture. The screen-printed invitation I created plays a key role here: it is a tangible, handmade request to visit my website, where the project is presented in detail. It becomes a palpable way of introducing my work to potential collaborators. These invitations are currently being sent to individuals within the field, such as Alix Bortoli, Dafna Enbar, Danaé Gosset, and Aliénor Delaporte, as well as to studios like Nomint, ANA Project, and Convergences, which are particularly engaged with stop motion. This outreach takes place at a pivotal moment, as I am currently seeking opportunities following the completion of my Master’s degree. In the shorter term, workshop organizers animators such as Miranda Peyton Jones in London or Laure Chapalain in Paris also represent meaningful contacts, particularly in relation to my second project, Projection 2, which may evolve towards collaboration and the transmission of craft techniques.
On a broader level, the project will be shared on Instagram to raise awareness among brands whose ethical values align with those conveyed by my work: craftsmanship, care, and transparency. I hope to encourage them to make thoughtful and coherent choices in their communication. However, I remain aware of the cost of producing handcrafted animation compared to more accessible alternatives, and therefore this approach is necessarily directed towards companies that are ready to commit the financial means to support such practices.
Finally, this project may also serve as a response to my uncles’ recurring question, one often asked by outside the fields of design or craft: “Are you afraid of being replaced by AI?” More broadly, I hope to gently challenge overly binary perspectives on AI, and to reintroduce a sense of humanity into discussions that can sometimes become reductive.
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